The Wall Between — Themes and Context

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Bassett, Sara Ware, 1872-1968, Price, Norman, 1877-1951 [Illustrator] Project Gutenberg 2008 Not confirmed
Love stories; New Hampshire -- Fiction; Neighbors -- Fiction Readers of public-domain and historical texts
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Words 59,499
Reading time 259 min
Text sections 7

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Sara Ware Bassett's 1920 novel uses a stone wall dividing two New Hampshire farms as a focal point for examining inherited feuds, generational silence, and the quiet tensions between neighborliness and pride. The narrative voice shifts between wry historical commentary and intimate domestic scenes, with pacing that alternates between slow-burn resentment and sudden gestures of connection.
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She had been an only daughter who since her teens had nursed invalid parents until death had claimed them and left her mistress of the homestead where she now lived. There had, it is true, been a boy; but in his early youth he had shaken the New Hampshire dust from off his feet and gone West, from which Utopia he had for a time sent home to his sister occasional and peculiarly inappropriate gifts of Mexican saddles, sombreros, leggings, and Indian blankets. He had received but scant gratitude, however, for these well-intentioned offerings. It had always been against the traditions of the Websters to spend money freely and Ellen, a Webster to the core, resented his lack of prudence; furthermore the articles were useless and cluttered up the house. Possibly the more open-handed Thomas understood the implied rebuke in the meager thanks awarded him and was hurt by it; at any rate, he ceased sending home presents, and by and by Ellen lost trace of him altogether. Years of silence, unbroken by tidings of any sort, followed. Ellen had almost forgotten she had a brother when one day a letter arrived announcing his death.

The event brought to the sister no grief, for years ago Thomas had passed out of her life. Nevertheless the message left behind it an aftermath of grim realizations that stirred her to contemplate the future from quite a new angle. She had never before considered herself old. Now she suddenly paused and reflected upon her seventy-five years and the uncertainty of the stretch of days before her.

Through the window she could see her prosperous lands, her garden upon the southern slope of the hill where warm sun kissed into life its lushly growing things; her pasture pierced by jagged rocks, and cattle-trampled stretches of rough turf; her wood lot where straight young pines and oak saplings lifted their reaching crests toward the sky; her orchard, the index of her progenitor's foresight. All these had belonged to the Websters for six generations, and she could not picture them the property of any one bearing another name; nor could she endure the thought of the wall being sometime rebuilt by an outsider.

What was to be the fate of her possessions after she was gone? Suppose a stranger purchased the estate. Or, worse than all, suppose that after she was dead Martin Howe was to buy it in. The Howes had always wanted more land.

Imagine Martin Howe plowing up the rich loam of her fields, invading with his axe the dim silences of her wood lot, enjoying the fruit of her orchard, driving his herds into her pasture! Fancy his feet grating upon the threshold of her home, his tread vibrating on her stairways! The irony of it!

Martin was young. At least, he was not old. He could not be more than forty. He might marry sometime. Many a man more unapproachable even than Martin Howe did marry.

And if he should marry, what would be more likely than that he would give to his maiden sisters--Mary, Eliza, and Jane--the Howe farm and take for his own abode the more spacious homestead of the Websters?

Ellen's brows contracted fiercely; then her mouth twisted into a crooked smile.

What a retribution if, after all, it should be Martin whose fate it was to rebuild the wall! Why, such a revenge would almost compensate for the property falling into his hands! Suppose it should become his lot to cut away the vines and underbrush; haul hither the great stones and hoist them into place! And if while he toiled at the hateful task and beads of sweat rolled from his forehead, a sympathetic and indulgent Providence would but permit her to come back to earth and, standing at his elbow, jeer at him while he did it! Ah, that would be revenge indeed!

Then the mocking light suddenly died from the old woman's eyes. Maybe Martin would not buy the farm, after all.

Or if he did, he might perhaps leave the wall to crumble into extinction, so that the rancor and bitterness of the Howes and Websters would come to an end, and the enmity of a hundred years be wasted!

Would not such an inglorious termination of the feud go down to history as a capitulation of the Websters? Why, the broil had become famous throughout the State. For decades it had been a topic of gossip and speculation until the Howe and Webster obstinacy had become a byword, almost an adage. To have the whole matter peter out now would be ignominious.

No. Though worms destroyed her mortal body, the hostility bred between the families should not cease. Nor should her ancestral home ever become the prey of her enemies, either.

The wall that gives Sara Ware Bassett's 1920 novel its title is introduced not as a physical obstacle but as a symbol of accumulated tradition: "its formidableness was the result of tradition rather than of fact." The opening chapter establishes a narrative voice that is both arch and precise, describing the anonymous builder who "stepped nameless into the silence of the Hereafter" while his creation perpetuated a feud across generations. This blend of historical sweep and ironic detachment sets the tone for a story that moves between broad commentary on human stubbornness and close attention to the small gestures—a bunch of sweet peas left on a wall, a scrawled name on paper—that begin to erode old barriers.

A Voice That Shifts Between Irony and Intimacy

The narrator's tone in the early chapters is notably detached and literary, employing classical allusions (Hamlet's ghost, "unwept, unhonored, and unsung") to frame the feud as a kind of absurd pageant. Yet as the story narrows to the Webster household, the voice becomes more intimate, lingering on Lucy's internal reactions: "With a strange fluttering of her heart, Lucy carried the bouquet to her own room." This shift mirrors the novel's movement from generational history to personal awakening. The contrast is sharpest in dialogue scenes, where Ellen's colloquial speech—"mad as a wet hen," "you're a cute one"—grounds the narrative in rural New Hampshire idiom, while the narrator's own phrasing remains polished and slightly formal. The effect is a layered storytelling that lets the reader observe both the characters' limited perspectives and the broader patterns they inhabit.

Pacing Through Silence and Sudden Action

Bassett controls the novel's rhythm by alternating long stretches of domestic routine with abrupt, wordless events. The wall itself is a constant, almost static presence, described in the first chapter as a "rambling line of gray stone" that has stood for a century. Yet the action that matters—the placement of sweet peas, the delivery of a sealed envelope—happens quickly and without fanfare. Lucy's discovery of the flowers is rendered in a single, breathless paragraph: "She caught them up with delight, burying her face in their cool fragrance." The narrative then cuts to Martin hoeing potatoes "with his back set squarely toward the Webster mansion," a detail that underscores the deliberate, almost theatrical nature of his gesture. These moments of compressed emotion stand out against the novel's otherwise measured pace, creating a pattern of withheld feeling and sudden release.

Objects as Carriers of Unspoken Meaning

The wall, the sweet peas, and the will are all objects that carry more weight than their physical presence suggests. The wall is "not a high wall" but has become an "estranging barrier" through repeated interpretation. The sweet peas, described as "a mammoth bunch" with raindrops still on them, are explicitly linked to Martin's private garden—a space his sisters know he does not pick from. Lucy's recognition of this breach of habit is immediate: "No hand but Martin's had plucked them." The will, meanwhile, is introduced as a prop in Ellen's psychological games, waved as "a large white envelope" meant to provoke. These objects function as shorthand for the characters' unspoken negotiations: a gift that defies a family rule, a document that threatens inheritance, a wall that defines belonging. Bassett lets the objects speak for themselves, trusting the reader to read the gestures.

Readers attentive to the novel's handling of time will notice how Bassett compresses months into a sentence and expands a single glance into a page. The wall remains a constant, but the narrative's attention shifts from its history to the small acts that occur in its shadow. Pay particular attention to the moments when characters refuse to explain themselves—Ellen's teasing, Lucy's silence, Martin's turned back—as these gaps are where the story's real movement happens.

Sometimes a wall isn’t stone but the quiet stubbornness of two households, each certain of its own story. That same stubborn pride, softened by youth’s restless energy, lives in The Making of Bobby Burnit Being a Record of the Adventures of a Live American Young Man — Text and Context, where a young man’s fumbling goodness finds its way past old fences, just as Bassett’s neighbors finally learn that a shared field matters more than a kept distance.

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